March 17^th 2016 at 5pm was the gallery opening for Drawing Into Space collaborative art installations. Before the gallery opening, we had the panel discussion where we discussed the concepts of each group’s piece and the process of collaborating and making art. I found the panel to be a little nerve wracking since public speaking isn’t my thing, but I think it went really well and it helps to know what to expect for future art panel discussions. The gallery opening had such a good turn out and was rewarding for me to see all those people looking at the work we did.

I really enjoyed the process of creating work for a collaborative piece. I think that our group worked well since everyone contributed to the installation and completed everything on time. The fact that the installation had the personal space pieces that were solely done by one artist helped to include everyone in their own unique styles. This made the final portion of the string sculptural piece collaborative and interesting because everyone helped to shape the end product of the yarn coming out into space.

Overall, Inner-Twined art installation and the show was very successful and a rewarding experience.

This past week has been mostly trying to finalize the drawing with litho-crayon portion. I chose a more realistic and linear style, since it reflects myself my general art style. I think it also reflects how I am as a person with characteristics of control and awareness.

I’ve also been working on sewing yarn and string into the Mylar. I’ve been mostly following lines and using the medium to embellish the piece. 

Photo taken in home studio of progress so far.

Coda is hard to impress.

The first work day consisted of practicing sewing yarn into the Mylar, which turned out successful. On Wednesday, we cut the large Mylar and found huge drawing boards to draw on.  Over the weekend, I went into the studio to start the drawing of the figure and cat. The plan for week 2 is to finish the drawing and start to sew on the final piece.

For the 3D drawing constructs, I started with the general idea of shaping the cardboard into small triangular pieces. Then I worked to combine the pieces to create a general pyramid shape. The artwork drew some inspiration from the artist Clemens Behr, whose work was part of the examples for 3D drawing. Behr uses multiples of shapes to construct her installations, which inspired the construction method and overall shape of my work.

The cardboard planes are defined by color, which helps to distinguish each plane from one another. I chose to keep the color scheme simple consisting of black and shades and tints of orange and blue.

For drawing in three dimensions, I chose to use straight, directional, and converging lines on the structure. I think this adds to the piece aesthetically as well as to give more movement to the piece. It helps to distinguish the planes but also to see how they interact next to each other. Overall I like the dimensional quality and aesthetics of the piece.

On February 1, 2016, Nicole and I installed our spatial drawing using the unconventional materials: string and yarn. The project was inspired from the space and environment. The juxtaposition of the brick and cement with the green vines and trees already made it a space of tension and opposites. Our initial intention was to start with weaving string throughout the space and bring attention to it. The process of running the pink string back and forth between the cement walls started to feel like a journey and inspired a concept about life and its ups and downs.

The addition of the white yarn that is attached to the trees and sits above the rest of the lines represents the good, peaceful moments. The drain in the ground and the black yarn that interacts with the pink string, represents the bad turns in life. These moments of color and placement meanings help to enforce the contradictions of the space with the contradictions of life.

This documented picture  was taken at night and the green filter from the camera helped to bring out the red and pink strings.

Way, Lindsey. Goodbye Band. Cut paper diorama. 2010. “HUSH”. http://www.lindseyway.com/artwork/09/images/09-full.jpg

Lindsey Way is an artist from Dunoon, Scotland and studied fine art and illustration at Pratt Institute. Although she is more known as a bassist in the band Mindless Self Indulgence, she is also a fine artist in the mediums of paint and paper.

In 2010, Way held an exhibition for her body of work called HUSH at the DARK DARK Science Gallery in Los Angeles. HUSH consists of thirteen cut paper dioramas. Her work reflects the concept of world art culture and the human condition, influenced by her experiences when touring the world with her band. This work, as featured below, has a sense of celebration in despair and life in death.

Way, Lindsey. Tears Explode Like Bombs. Cut paper diorama. 2010.“HUSH” http://www.lindseyway.com/artwork/02/images/02-full.jpg

Way relates to the theme of ‘Drawing into Space’ because she is drawing by using cut paper and displaying it into the 3D space as a diorama. Instead of drawing these artwork in 2D, she is creating space for these little worlds where these characters and celebrations exists.

http://www.lindseyway.com/about.html

Way, Lindsey. Hush 2. Cut paper diorama. 2010. “HUSH” http://www.lindseyway.com/artwork/07/images/fullsize.jpg

Way, Lindsey. Blaze The Butterflies. Cut paper diorama. 2010. “HUSH” http://www.lindseyway.com/artwork/05/images/05-full.jpg

Way, Lindsey. Miss Me A Little But Not For Long. Cut paper diorama. 2010. “HUSH”  http://www.lindseyway.com/artwork/04/images/04-full.jpg

To view all 13 dioramas: http://www.lindseyway.com/index.html

McColl Center Opening February 5, 2016

I went to the McColl opening of the People Places Exchanges: Art as a Visual Voice exhibition. There were a lot of people at the gallery opening when I went, so it was pretty crowded, especially around the food. I thought that the oil paintings of Vincente Hernandez were really beautiful, especially the one related to Charlotte. There were many awesome works displayed but the crowd made it hard to look at for long, so I made it my mission to go look upstairs at the studios.

One of the artists that I found interesting was Ivan Toth Depena. He was in a studio upstairs and he had these three large mixed media series that I really enjoyed. They were made up of abstracted lines with large block of color on the bottom quarter of the panels.

I went to Hollis’ studio and saw the works from presentation on the first day of class. I really liked the large scale and spatial dimensions that the work has. As someone who likes narrative works, the large comic strip was definitely one of my favorites.

Post by: Rebecca Lempereur

http://assets0.madewithcolor.com/2013/05/24/17/09/23/879/ex.lin.2012.0230.jpg Still Life#12, 1/4” Black Masking Tape on Mylar and Wall, 24’x48′, 2012

Heeseop Yoon creates large scale installation drawings and has been exhibited in many galleries in NYC and Korea. Yoon was born in Seoul, Korea and now lives in Brooklyn, New York where she makes her artwork. She receives her BFA in 1999 at Chung-ang University in Seoul, Korea and then her MFA in 2005 at City College of New York.

http://assets2.madewithcolor.com/2013/05/24/17/09/28/833/Junkshop_Skowhegan._view1.jpg Junkshop-Skowhegan, 1/4” Black Masking Tape on Mylar and Wall, Dimension Vary, 2006

Much of Yoon’s work is made of black masking tape on Mylar and then installed into a space. She considers her work as “freehand drawings” which I think is interesting and accurate. I was really drawn to her work because of the dimensional, sketchy images she creates with the tape. They create space within the drawings with overlapping of lines and emphasis on some directional lines. These remind me of forms that resemble cityscapes, which probably help with the illusions of space. One thing that I also like is the way Yoon uses the installation space as part of the work. As can be seen in images below, the tape is immersed into the space and wraps around with it. It almost becomes a part of the wall and environment because of the wrapping and the wall showing through as negative space in the images.

http://michaelsteinbergfineart.com/editions/artist/heeseop-yoon

http://www.heeseopyoon.com/

http://assets3.madewithcolor.com/2013/05/24/17/08/47/893/120125EFrossard_SMellon_HYoon_8201.jpg Still Life#11, 1/4” Black Masking Tape on Mylar and Wall, 24’x60′, 2012, at Smack Mellon

http://assets3.madewithcolor.com/2013/05/24/17/09/13/14/ararioimage1.jpg Storages, 1/4” Black Masking Tape on Mylar and Wall, Dimension Vary, 2010

http://assets1.madewithcolor.com/2013/05/24/17/13/38/72/15.Junkshop_Skowhegan_2.jpg Junkshop, 1/4” Black Masking Tape on Mylar and Wall, Dimension Vary, 2006

Cave Paintings, installation view, 2015. Photo: Tom Horak http://www.philashcroft.com/site/wp-content/uploads/2015/11/DSC_1442-HDR-2s_700.jpg

Phil Ashcroft is a London based painter and graphic design artist. Ashcroft completed his illustration degrees at Harrow College of Art & Design and continued to post-grad work at St. Martins College of Art & Design in London. Much of his work draws influences from abstract expressionism, landscapes, and street art.

Ashcroft’s most recent exhibition Cave Paintings was held in 2015 at the Lewisham Arthouse in London. This work uses both color and grey scale in the abstract landscapes. The paintings have a unique divisions of the picture plane through lines that create geometric shapes, which suggests push and pull in the space. The dividing lines combined with the expressive paint marks relates to drawing in space because of the depth they create and the illusion of space. The painting below, Nexus 7, part of the Cave Paintings body of work, uses lines, edges, grey scale, and expressive paint strokes to create a landscape of abstract expressive paint strokes.

Cave Painting (Nexus 7), acrylic on canvas, 121 x 91cm, 2015. Photo: Tom Horak http://www.philashcroft.com/site/wp-content/uploads/2015/11/DSC_1427-HDRs_700crop.jpg

The view below of the installation shows Ashcroft’s attention to space and placement between the artworks in the exhibition itself that also relates to our theme outside the picture planes.

Cave Paintings, installation view, 2015. Photo: Tom Horak http://www.philashcroft.com/site/wp-content/uploads/2015/11/DSC_1397s_700.jpg

Below are more works by Ashcroft for Cave Paintings.

Cave Painting (Nexus 9), acrylic on canvas, 121 x 91cm, 2015. Photo: Tom Horak http://www.philashcroft.com/site/wp-content/uploads/2015/11/9_700px.jpg

Cave Painting (Small Sunset Variation 4), acrylic on canvas, 41 x 31cm, 2015. Photo: Joe Plommer http://www.philashcroft.com/site/wp-content/uploads/2015/06/DSC1531_700px.jpg

Citation: www.philashcroft.com/site/

Photo by Bryan Tarnowski, 2014 http://www.thisiscolossal.com/wp-content/uploads/2014/01/heather-3.jpg

Heather Hansen is a performance artist who creates large scale charcoal drawings through her body and movement. Hansen works as a process-orientated artist where a great portion of the art is in the performance itself and not just in the finished product. Her body moves from gesture to gesture, leaving behind the evidence of movement through the long gestural lines of charcoal.

One of Hansen’s more recent exhibitions is the Value of Line at Ochi. Here she created performance pieces, as can be seen below, in front of spectators as she draws with her gestures. Hansen’s explains her work of “download[ing] my movement directly onto paper, emptying gestures from one form to another”. Much of her work relates to this process of relaying gestures on to paper, with the finished product as layered and symmetrical expressive lines. Her work relates to drawing into space with her process of creating. The space occupied by her body during creation, the movement of the gestures across the paper from one to another, and the suggestion of time and movement in the finished product, all translate to the theme of drawing into space.

http://www.ochigallery.com/heather-hansen/#lightbox[group-330]/10/

Photo by Spencer Hansen at Ochi Gallery, 2014. http://www.thisiscolossal.com/wp-content/uploads/2014/01/heather-12.jpg

The artwork below draws attention to an implied 3D space of an interior and exterior of the spherical shape.

Heather Hansen EGLA-1 9.26.15, 2015, charcoal on rice paper 59” X 84”. http://www.ochigallery.com/wp-content/uploads/2014/01/EGLA-19.26.15_EMAIL-605×415.jpg

Heather Hansen EG SUWON1 8.19.15, 2015 charcoal on canvas, varnish 134” X 134”. http://www.ochigallery.com/wp-content/uploads/2014/01/EGSUWON1.8.19.15_EMAIL.jpg

Post by Rebecca Lempereur, 1/24/2016